A Quote by Meghan Daum

I feel that I'm an essayist and that my best work gets done in that form. I wanted to do a book where the essays could exist on their own terms. A book that was neither a book of essays that were shoehorned into a memoir, nor [one where] the essays had been published elsewhere first, [because] then they would kind of bear the marks of those publications.
Ordering is very important with essays, even if a reader doesn't read the essays or the poems in order through the book...
I've published one book before, and now I'm writing a book of essays and stories about life in Tokyo. And I have one book coming out in May in Germany, about fitness.
Many years, I would publish four books - an anthology, a book of criticism, a new book of poems, a book of essays.
Shorter work - personal essays and book reviews - allow me to take a break from working on a book, which is good for the book and for its author.
I got to take classes in writing with a fountain pen, and actually, something you make is your own textbook. So, while you're learning about something, you have to write essays on it, and then you handwrite in cursive, in fountain pen, your essays out on beautiful paper and you bind it together into a book that you hand in at the end of the course.
'The Things They Carried' is labeled right inside the book as a work of fiction, but I did set out when I wrote the book to make it feel real... I use my own name, and I dedicated the book to characters in the book to give it the form of a war memoir.
I don't really think of my essays as being about myself. I know it sounds insane, but I just don't think of them as a memoir. They're essays; they're not an autobiography.
One of my friends who writes novels says that once the book is published, it's a separate thing from you; it becomes its own. I feel that way when I read - and that applies to the experience of reading my work in public, too. The essays are a barrier between me and the audience, and it feels like a disappearing act. Poof! I'm gone, and the woman I've created on the page emerges.
I wanted to create an environment in which more than just personal essays could be represented, and in which stranger approaches to making essays could be celebrated.
Sometimes I read reviews, and without exception I will read critical essays that are sent to me. The critical essays are interesting on their own terms.
When I was in graduate school, my thesis included both poetry and essays. Influenced by the personal essays of James Baldwin and Norman Mailer, I loved the form, but pretty much stopped.
I started work on my first French history book in 1969; on 'Socialism in Provence' in 1974; and on the essays in Marxism and the French Left in 1978. Conversely, my first non-academic publication, a review in the 'TLS', did not come until the late 1980s, and it was not until 1993 that I published my first piece in the 'New York Review.'
Book reviewing dates only to the eighteenth century, when, for the first time, there were so many books being printed that magazines - they were new, too - started printing essays about them.
I have written some poetry and two prose books about baseball, but if I had been a rich man, I probably would not have written many of the magazine essays that I have had to do. But, needing to write magazine essays to support myself, I looked to things that I cared about and wanted to write about, and certainly baseball was one of them.
I don't know if I have a book in me, but I'm sure I have more essays.
I picked such seemingly disparate essays, I thought it was important to say what was the guiding principle in the selection rather than focus on any one essay. I reached for some principle that had been subconscious in me and lifted it into consciousness. Authenticity and sincerity were the most important unifying principles of all these apparently different essays.
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